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        <h2 align="left" style="margin-top: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A - E</h2>
        <p align="left" style="margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Annis">Fiona Annis</a></p>
<p align="left" style="margin-top: 0; margin-bottom: 0;"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Maud">Maud Berthomier</a></p>
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        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Peter">Peter Conlin</a></p>
        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Jason">Jason Crawford</a></p>
        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Rosika">Rosika Desnoyers</a></p>
        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Anais">Anais D&eacute;tolle</a></p>
        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Shanly">Shanly Dixon</a></p>
        <p align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p></td>
      <td width="185"><blockquote style="margin-bottom: 0;">.</blockquote>
        <h2 align="left" style="margin-top: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; F - J</h2>
        <p style="margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Catherine">Catherine Foisy</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Jane">Jane Gabriels</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Marat">Marat Grebennikov</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Patrick">Patrick Harrop</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span> <a href="#Nadia">Nadia Hausfather</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Gareth">Gareth Hedges</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Nasrin">Nasrin Himada</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Joanne">Joanne Hui</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Erin">Erin Jessee</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span> <a href="#David">William David Johnston</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Randolph">Randolph Jordan</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p></td>
      <td width="188"><blockquote style="margin-bottom: 0;">&nbsp;</blockquote>
        <h2 align="center" style="margin-top: 0; margin-bottom: 0;">K - P &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </h2>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Tatiana">Tatiana Koroleva</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;</span><a href="#Harry">Harry Kuntz</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Debbie">Debbie Lunny</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Heather">Heather MacDougall</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Bianca">Bianca Scliar Mancini</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Yara">Yara Mitsuishi</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Sorouja">Sorouja Moll</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Devora">Devora Neumark</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Kelly">Kelly Phipps</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><a href="#Cindy">Cindy Poremba</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></p></td>
      <td width="168"><blockquote style="margin-bottom: 0;">&nbsp;</blockquote>
        <h2 align="center" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp; R - Z &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</h2>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Ioana">Ioana Radu</a></p>
        <p style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a href="#Jodi">Jodi Ramer</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Philippe">Philippe Reider</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Troy">Troy Rhoades</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Eric">Eric Ronis</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Emily">Emily Rosamond</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Abha">Abha Singh</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Myriam">Myriam Suchet</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Mona">Mona Tajali</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Olga">Olga Zikrata</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Yuriy">Yuriy Zikratyy</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><a href="#Janis">Janis Zubalik</a></p>
        <p style="margin-top: 0; margin-bottom: 0;"><span style="margin-bottom: 0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></p>        </td>
    </tr>
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  <h2 align="left" style="margin-top: 0; margin-bottom: 0;">&nbsp;&nbsp;&nbsp;    </h2>
  <blockquote style="margin-top: 0; margin-bottom: 0;">
    <blockquote style="margin-top: 0; margin-bottom: 0;">
      <blockquote style="margin-top: 0; margin-bottom: 0;">&nbsp;</blockquote>
      </blockquote>
    </blockquote>
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  <p style="margin-top: 0; margin-bottom: 0;">&copy; Kelly Andres </p>
  <h2 style="margin-top: 0;">Kelly Andres </h2>
  <p style="margin-bottom: 0;"> Kelly Andres is a interdisciplinary artist fascinated   with ecologies and energies; those of living cellular species such as plants   and animals and those of electronic media such as radio waves, and transmission   devices. Through her work she creates installations and sculptures that are   participatory, alive and often quite playful. Encouraging interactions between   electronic mediums and species such as yeast, bacteria, poultry, plant, and   human, Andres deploys simple systems, objects and performances that allow   participants to explore their immediate environment. Andres' work has   been exhibited at the Science Gallery, Dublin (with the Grafting Parlour), M:ST   Performance Art Festival, Calgary, Free Radio Banff, Walter Phillips Gallery,   Banff, Babel Art Gallery, Norway, ISEA 2008, Singapore, Signal and Noise,   Vancouver, CONFLUX 2007, New York, The Southern Alberta Art Gallery and Trianon   Gallery, Lethbridge. Andres has had residences at Media Lab Prado, Madrid, e-   MobiLArt (Greece, Finland, Austria), ISEA 2008, Singapore, Studio XX, Montreal,   The Banff Centre and the Banff New Media Institute, and Lademoen   Kunstnerverksteder in Trondheim Norway. Her work has been funded by the Canada   Council for the Arts, The Alberta Foundation for the Arts, and Alberta Ecotrust. <br />
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  <p style="margin-top: 0; margin-bottom: 0;">&copy; Fiona Annis </p>
  <p style="margin-top: 0; margin-bottom: 0;"><a name="Annis" id="Annis"></a></p>
  <h2 style="margin-top: 0;">Fiona Annis </h2>
    <p>A principal thread of inquiry present throughout my studio-based art  practice is the exploration of the use and experience of the body and the  institutions and rituals directly related to the body and ones being.&nbsp; Pursued through theory, print media,  installation and curation, this thematic was further developed at The Glasgow  School of Art, where I completed a Master of Research in Creative Art  Practices.&nbsp; Building upon this  foundation, my doctorate work foregrounds a creative process-based inquiry,  contributing to both contemporary art production as well as cultural and social  criticism.&nbsp; The study is engaged through  visual art production, an art historical study, as well as a philosophical  investigation, which addresses and responds to the social and cultural  discourses elicited through the interdisciplinary inquiry.&nbsp; I situate this practice-led research  initiative in the context of romantic conceptualism, a relatively undefined  territory of contemporary art.&nbsp; Romantic  conceptualism is proposed as an intersection to develop, in the exploration of  how romantic-historical notions are negotiated in contemporary terms.</p>
    <p style="margin-bottom: 0;">For further reference please see:&nbsp;  <a href="http://www.fionaannis.co.uk">www.fionaannis.co.uk</a></p>
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  <h2 style="margin-top: 0;">Maud Berthomier</h2>
  <p>As a PhD candidate in an international exchange program  between Concordia University and the University of Poitiers in France, my  research deals with a comparison between various arts forms: cinema, literature  and rock music. Specialized in Comparative Literature and Film Studies, I am  interested in finding an historical link between the mythologies and the  aesthetics of what is commonly labeled rock literature and rock cinema. This  requires a focus on archival material such as articles and documentaries from  the Sixties and Seventies across America, England and France.&nbsp;</p>
  After the first  part of my PhD in Canada, I spent one year in New York where I performed  archival research. I am currently writing my thesis in France, under the  supervision of my three Canadian and French advisors: Professor Martin Lefebvre  (Concordia), Professor Charles Acland (Concordia), and Professor Denis Mellier (Poitiers).
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    <a name="Christoph" id="Christoph"></a>
    <h2>Christoph Brunner </h2>
    <p><span style="font-weight: bold">Relational Ecologies &ndash; Transversal Practices, Politics and   Spacetime </span>&nbsp; </p>
  <p>My research copes with processes of emergence through   transversal practices of research-creation. Other than an inter- or   transdisciplinary approach, the very notion of a relational model between   different formats of practices and their actualizations (e.g. a piece of art, an   architectural configuration or some sort of scientific knowledge) will be used   as conceptual ground for a theory that emerges from the middle of a relation. In   other words, how do things (such a as knowledge, architecture or an artwork)   come into presence and create resonance without any predefined terms that would   allow a shorthanded analysis of its presence as retraceable to any pre-defined   terms and their connections? Following this &lsquo;logic of the in-between&rsquo;   transdisciplinary practices will be re-analyzed in light of their transversal   qualities. Transversality as vantage point allows processes of emergence to   relate to a creative becoming that is always political and constantly shifts   configurations of spacetime as collective assemblages of bodies and forces in   movement.&nbsp; </p>
  <p style="margin-bottom: 0;">Website:</p>
  <p style="margin-top:0;"><a href="http://www.molecularbecoming.com/">http://www.molecularbecoming.com</a></p>
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  <h2>Ryan Conrad </h2>
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    <p style="text-align:justify; margin-top: 0;">Ryan Conrad is an outlaw artist, terrorist  academic and petty thief from a mill town in central Maine.&nbsp; He is the  founder of the <a href="http://www.againstequality.org">Against Equality</a> digital archives and the editor of the collective's first two anthologies, <em><a href="http://www.goodreads.com/book/show/8801547-against-equality">Against  Equality:Queer Critiques of Gay Marriage</a> </em>and <a href="http://www.goodreads.com/book/show/12151763-against-equality"><em>Against  Equality: Don't Ask to Fight Their Wars</em></a>.&nbsp; His work as a visual and  performing artist has exhibited internationally in Europe, Asia and across the  United States and Canada.&nbsp; He writes for both academic and non-academic  presses as well as presents his written and visual work at academic and  activist conferences.&nbsp; All his work is archived on <a href="http://faggotz.org">faggotz.org</a> along side his well-established  record of work as a community activist and organizer. </p>
    <p style="text-align:justify;">Conrad's dissertation research connects  materialist critiques of gay and lesbian politics of inclusion that have been  distilled through his work with Against Equality to emerging critical thought  about queer subjectivity in the field of affect studies.&nbsp; By making these  connections he hopes to reinvigorate the queer political imagination with  fantastic possibility. </p>
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  <h2 style="margin-top: 0;">Fang Chen</h2>
  <p>Examining news construction of concubinage and discourse of extramarital relationship in contemporary China. </p>
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    <h2>Valerie Cools </h2>
    <p>My research is focused on contemporary Japanese comics (a.k.a. manga)  and video games. I am studying the way in which some of the more culturally  specific Japanese elements in these works are being received by North American  and Western European audiences, and thereby contribute to shaping the latter&rsquo;s  imaginary landscape.</p>
  <p>More generally, I am interested in the way different cultures influence  one another, and how creative works travel from one cultural space to another. Having  been raised in a bicultural family, and having grown up in a few different  places might have had something to do with it: cultural limits are vague and  imprecise, and one can legitimately wonder whether they exist at all, but I can  definitely say they&rsquo;ve been a part of my life. Studying manga and video games  seemed like a fun way to explore that domain.</p>
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    <h2>Peter Conlin </h2>
    <p style="margin-bottom: 0;"><span style="margin-top: 0">I am focused on  understanding what happens when &lsquo;alternative&rsquo; values and radical approaches to  culture and politics encounter career structures, criteria of success and  professionalism; and I&lsquo;m addressing these issues through research on  self-organized arts organizations in Canada and the UK. I am slowly getting  over my addiction to the cultural theory of Pierre Bourdieu, however my concern  with the relations between formations and disposition, recognition (as elaborated  by Bev Skeggs) and theories of capital and labour endure in my life and work. Here  are some key words: avant-gardism, artist-run, class, professionalization of  activism, curation and/or self-determination, post-Fordism, creative cities,  administration, cultural policy. </span></p>
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  <h2 style="margin-top: 0;">Jason Crawford </h2>
  <p style="margin-bottom: 0;">For most of my life I have had a lot of questions about the  meaning of the word &ldquo;community.&rdquo;&nbsp; Whether  it was being a young gay man growing up in the Southern United   States, having different political views from the majority of  people I knew, brushes with dogmatism in both conservative and progressive  political groups or struggling to feel part of some community somewhere at  sometime, I have always suffered from &ldquo;community trouble.&rdquo;&nbsp; I know I am not alone in these  struggles.&nbsp; My Doctoral Thesis centres on  the meaning of &ldquo;queer community.&rdquo;&nbsp; I study  the San Francisco Sisters of Perpetual Indulgence, a group of queer activists  who dress like Catholic nuns and perform rituals in gay bars and in the gay  neighbourhoods, do community advocacy work and also political consciousness  raising.&nbsp; My work draws on the resources  of theatre and performance studies, queer cultural studies, and performance  geography so that I can map the performance sites of the Sisters, as a way to understand  how both &ldquo;queer&rdquo; and &ldquo;community&rdquo; are performed, where they are performed and  how people make meaning out of the cultural locations of those  performances.&nbsp; After years of worrying  about which community I should fit into, I&rsquo;ve turned those worries into  questions that I hope I will never find the answers to.&nbsp; Learning more about queer community means,  for me, to continue to look at all the many ways those two words are put into  motion through performance within geographic locations that mean something like  &ldquo;community&rdquo; for queer people.&nbsp; </p>
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  <h2 style="margin-top: 0;">Rosika Desnoyers </h2>
  <p>My thesis combines studio-based research with the systematic  study of Berlin work. In my art  practice I make use of needlepoint, a popular form of embroidery, in order to  question, from a social anthropological point of view, the values associated  with tradition, originality, and repetition in artistic creation. I am also  writing a cultural history of Berlin work, including its effects on notions of  creativity and labour in the nineteenth century, its relation to painting, its  influence on women&rsquo;s practices, and its contribution to the history of  technologies. Through its history of mechanization, industrialization and  manufacture, Berlin work can be understood as part of the development of  automation. My research denaturalizes received notions about embroidery, it  explores the mechanization of creativity and the artist, and it expands on the  history of image making._________________________________________</p>
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  <h2>Shanly Dixon </h2>
    <p style="margin-bottom: 0;">I am an<strong> </strong>ethnographer  and doctoral candidate currently writing my thesis which draws upon the disciplines  of Sociology, Communications and Education to examine the ways in which new  media and technology can transform the spaces and experiences of contemporary  childhood. </p>
    <p style="margin-top:0;margin-bottom:0;">There has been a shift in the nature of childhood in the  past few decades and I am exploring the changing experiences of young people  through ethnography. Employing participant observation, interviews, focus  groups and workshops, I consider the ways in which digital culture might  influence young people&rsquo;s sociality, altering the ways in which they use and  experience space both on and offline, and the ways in which notions of public  and private are constructed.</p>
    <p style="margin-top:0;">I teach a course  on the Sociology of Cyberspace at Concordia University, work as a consultant to  video game industry and I am currently working on the revised edition of the  co-edited book Growing Up Online: Young People and Digital Technologies.  Growing Up Online reveals some of the diverse ways in which girls and young  women are incorporating and making sense of emerging digital technologies in  their everyday lives.&nbsp; </p>
    <p>&nbsp;Through my research I  have become aware of and am investigating some of the tensions between young  people, parents, educators, policy makers, and commercial interests in relation  to digital culture. As a result, I am now interested in promoting cross  generational dialogue and digital literacy.</p>
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    <h2>Catherine Foisy </h2>
  <p style="margin-bottom: 0;"><span style="text-align:justify; margin-top: 0; margin-bottom: 0;">Montreal, Fall 2007: I was  listening to the Bouchard-Taylor commission and came up being very concerned  with how the fact of raising religious issues turned most members of the  demographic majority into being so emotional. In a sense, that is no surprise  since the Catholic Church was socially and politically marginalized from the Quiet  Revolution onwards. Intrigued by the way in which a society, like the Quebecois  one, confronted to cultural diversity and to demands emanating from diverse  groups formed through the share of a common identity, I started thinking of a  possible enquiry into the relationships between Quebec society and the Catholic  Church, but from both a sociological, historical, and theological perspective.  My research, looking specifically to the 1945-1980 period and drawing on oral  material, focuses on how the Quebec missionaries&rsquo; experiences have had an  impact on the buildup of a global questioning within the Quebec Catholic  Church.&nbsp;&nbsp; </span></p>
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    <a name="Jane" id="Jane"></a>
    <p style="margin-top: 0; margin-bottom: 0;">&copy; Merri Cyr, 2010</p>
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    <h2 style="margin-top: 0;">Jane Gabriels </h2>
    <p style="margin-bottom: 0;">My work centers on and expands from the dance theater project Out of La Negrura/Out of Blackness, produced by the South Bronx based organization Pepatian. Pepatian was co-founded by Bessie-Award winning choreographer Merian Soto, Visual Artist and MacArthur Fellow Pepon Osorio and choreographer and educator, Patti Bradshaw.  The collaborative work Out of La Negrura was created by three Latina artists in NYC: Sita Frederick, Anita &quot;Rokafella&quot; Garcia and Marion Ramirez.  Having been involved with the project since its inception, I'm interested in the intersection of community action with creative process and scholarly research. I'm interested in how Out of La Negrura speaks to the artist-community connection, autobiographical sources, body as resource and the impact of the South Bronx, New York as the artistic home for the creative process of these artists and in my own work.<br />
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  <h2>Mark Gaspar </h2>
    <p style="text-align:justify;">My  work at the doctoral level aims to investigate the Canadian HIV/AIDS epidemic  from an interdisciplinary perspective, combining key concepts from sexuality  studies, sociology and media studies. I will be looking at how HIV risk currently  governs and shapes bodies and subjectivities, with an interest in sexually  active subjects who have never known a world without HIV/AIDS. Fundamental to  this research is a concern with the epistemological foundations of safe sex. I  am interested in how HIV risk and safe sex factor into contemporary understandings  of the self, the body, intimacy, romance and sexuality and how certain  encounters with HIV (for example, having to get tested) might be experienced as  traumatic episodes that may become psycho-socially embodied.&nbsp; Finally, my work is aiming to grasp how  socio-political and cultural work on HIV/AIDS and the body can help us develop pragmatic  solutions. My work is highly influenced by Michel Foucault, particularly his  work on biopolitics, governmentality and technologies of the self, as well as much  recent work in queer theory.</p>
    <p style="text-align:justify;">Tangentially,  I am interested in questions about popular cultural, particular diva pop  culture, and the commodifying and appropriative forces operating in this  sphere. I am also interested in questions regarding the Portuguese Diaspora  living in Canada, particularly in relation to queer subjects.</p>
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  <p style="margin-top: 0;">&copy; Adrian Gorea </p>
  <h2>Adrian Gorea </h2>
<p> My doctoral research  considers popular culture in relation to the artistic methods of Eastern  Orthodox icon painting to explore how spiritual imagery can be revitalized as  an active form of criticizing contemporary society. This area of research grew  out of my practice as a Byzantine iconographer in Romania, where I completed  religious murals and icons for several churches. My research has important  implications for visual criticism in offering a viable alternative to the two  prevalent modes of seeing contemporary icons&mdash;the symbolic and the realistic.  Both approaches fail to explain reasons for the devotion of today&rsquo;s iconic  images as they offer a fragmented interpretation of the particular visual  techniques employed in their creation. To better understand such techniques, an  integrated vision of symbolic realism is required. Therefore, I examine the  works of Byzantine iconographers, who developed, in response to Byzantine  iconoclasm, the symbolic realistic method of icon painting, an artistic  approach constructing a way of seeing that incites viewers to critically see  the cult-value of commodity&rsquo;s imagery in relation to their illusory aspects.  Building an aesthetic model based on the Byzantine technique, a new approach in  visual criticism, allows me to show how corporations use the ideological power  of images to market their abstractions as reality and prompt consumers into not  only buying, but also worshiping their brand images. </p>
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  <p style="margin-top: 0;"> <a href="http://www.adriangorea.com">www.adriangorea.com</a> </p>
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  <h2 style="margin-top: 0;">Marat   Grebennikov</h2>
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    <p style="margin-top:0;margin-bottom:0;">I have been researching history and contemporary political,  ethnic and religious issues in the Islamic regions of the Soviet Union  and post-Soviet Caucasus. In particular, I have sought to map the ways in which  traditional Muslim and Jewish societies has responded to the challenges of  modernization and globalization. </p>
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  <h2 style="margin-top: 0;">Patrick Harrop </h2>
  <p style="margin-bottom: 0;">My research work looks at a contemporary framing of the  question of ornamentation with reference to traditional practices of  architectural production as well as responsiveness in electronic medium. The  span of research is three fold: A theoretical reading of physical and  immaterial substrates and the <em>technical  object</em> through critical philosophical sources such as Simondon, Steigler,  and Deleuze and Guattari; the understanding of material (and hence immaterial)  craft through an analysis of material practices (contemporary, modernist and  baroque); an analysis of the gestural foundation for the generative algorithms  of ornamental geometry, through traditional and contemporary algorithmic  practices.</p>
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  <h2 style="margin-top: 0;">Nadia Hausfather </h2>
  <p>I plan to explore and better understand the causes of  current divisions within the Left in Quebec,  in particular between the anarchist and communist groups and between Indigenous  and non-Indigenous solidarity groups, using a psycho-socio-historical  theoretical approach and a participatory action research methodology.</p>
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    <h2>Gareth Hedges </h2>
  <p><span style="text-align:justify; margin-top: 0; margin-bottom: 0;">Gareth Hedges is a PhD candidate in the Humanities Doctoral Program  with the Center of Interdisciplinary   Studies in Society and  Culture at the Concordia University, in Montr&eacute;al.&nbsp;  Hedges&rsquo; research concerns a cycle of films made in the 1970s set in and  sometimes marketed towards the American South. Films about rural rebels,  driving culture, and crime like <em>Bonnie  &amp; Clyde</em> (1967), <em>Easy Rider</em> (1969), <em>Deliverance</em> (1971) and <em>Walking Tall</em> (1973) filled drive-ins and  rural cinemas of the Post World War II and Post-Civil Rights South and serve as  a point of cultural conjunction in the representation and rehabilitation of the  South in popular culture.&nbsp;</span></p>
<p><span style="text-align:justify; margin-top: 0; margin-bottom: 0;">Hedges&rsquo; interdisciplinary work will trace emergence and decomposition of this cycle across  varied channels of cultural production.&nbsp; </span><span style="text-align:justify; margin-top: 0; margin-bottom: 0;">He is also passionate about film history, cultural studies, popular  music, and the 20th Century.</span></p>
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  <h2>Nasrin Himada </h2>
    <p style="text-align:justify; margin-bottom: 0;">Georges  Bataille wrote of violence as that which emerges out of the encounter with  nonknowledge, or as he writes, &ldquo;[&hellip;] that which  results from every proposition when we are looking to go to the fundamental  depths of its content, and which makes us uneasy.&rdquo; He reclaims the word in a way that gives rise to a new concept of  action that heightens its transformative force&mdash;violence that never becomes a  means to an end but what is already of us. Inspiring us to take the word back,  I engage the concept of violence and give the name to a &ldquo;boldness lying idle  and hankering for danger&rdquo;(Jean Genet). This danger is what culminates as the  spontaneous eruption of life that renders impossible a neutralized position. </p>
    <p style="text-align:justify; margin-top:0;">  By expanding on the potential  emergence of a contingent relationship between art and the political, I analyze  Wafaa Bilal&rsquo;s performance piece, &ldquo;Shoot an Iraqi,&rdquo; which succeeds precisely  because the outcome is not pre-determined. My dissertation investigates the  ways in which Bilal&rsquo;s project provokes a participatory impulse that engages the  political in non-didactic forms. I address a series of relations among film studies, art history, and  critical geography that give precedence to what I define as an aesthetic of violence. An aesthetic of violence  produces new modes of perception and participation that engage the present in  our time of political crisis&mdash;the proliferation of war, occupation and  environmental disaster. </p>
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    <a name="Joanne" id="Joanne"></a>
    <h2>Joanne Hui </h2>
    <p>JOANNE HUI is a visual artist and third year doctoral student.  Her research investigates concepts of identity in comic art, taking it into an arena of scholarship that looks at works of graphic arts addressing culturally-specific and historical conditions of migration and immigration.  The outcome of her research will be in the form of a critical essay and a graphic novel. Recent works include Shanghai Daily (2008), a graphic novel travel collage, and The Potato Wars: Chinese-Canadian Resistance during the Exclusion Era, a comic poster selected for inclusion in the exhibition DIASPORArt; Strategy and Seduction by Canadian Artists from Culturally Diverse Communities. The exhibition will be displayed in the Ambassadors Room in Rideau Hall, the official residence of the Governor General Micha&euml;lle Jean. The exhibition opened Sept. 21 and will remain on display for one year.  This poster is also an insert in West Coast LINE 60 vol 42 no 4, Winter 2009. </p>
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  <p style="margin-top: 0;">&copy;Shauna Janssen</p>
  <h2>Shauna Janssen </h2>
  <p style="margin-bottom: 0;">My doctoral work  focuses on documenting the reoccupation and adaptive reuse of abandoned  post-industrial sites for cultural purposes. My research works across and in  between the disciplines of architecture, performance studies and oral history,  drawing from a mixture of discourses about the relations between contemporary  art and historical architecture, ruin theory, urban revitalization politics,  theories of the city, and contested public spaces. Through these fields I seek  to identify the ways in which the gesture of reoccupying, even temporally, the  ruins of post-industrial architecture reveals the relevance of </p>
<p style="margin-top: 0;">these historic  sites and landscapes in a contemporary urban context; their reuse and the  re/appropriation of these spaces contributing to the architectural and  socio-historical narratives of a city.&nbsp;&nbsp; <a href="http://www.urbanoccupationsurbaines.org">www.urbanoccupationsurbaines.org</a> </p>
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    <a name="David" id="David"></a>
    <h2>William David Johnston </h2>
  <p style="margin-bottom: 0;">I am a digital poet, specifically creating  online art that blends literature, programming, video, music composition and  fine arts. The core of my practice is art-research: absorbing philosophical  ideas from diverse disciplines (notably: phenomenology and cognitive science)  and letting them influence the creative process. Multimedia poetry that blends  together multiple forms (sound, image, interactivity) is emerging;  understanding how it is built (how it differs from traditional poetry and what  remains the same) is a focus of my research. In contrast to some materiality  theory (which argues for investigative digital poetry and an abandonment of  narrative and emotion), I advocate for the continued relevance of the lyric,  expressive affect and aesthetics in contemporary digital poetics. </p>
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    <h2>Tatiana Koroleva </h2>
    <p>In my artistic work, video and performances, I investigate the  possibilities of resistance to the dominant corporeal standard.&nbsp; Physical body which absorbed the very  materiality of state intervention into biological domain exists in the state of  continuous repression, but at the same time it accumulates the potential for  the unlimited deconstruction of the established order. The very physicality of  the body serves as a perfect background for the subversion of social expectations  on corporeal practices. I understand self-adoration, fetishism, self-abuse and  other forms of marginalized sensuality as ways to resist socially controlled  discourses of pleasure. A game with strictly imposed rules, pleasure, is turned  in my pieces into the form of corporeal creativity open to all variations and  forms. In general my pieces are meant to reveal the possibility of alternative  modes of physical and psychic being in contemporary culture resulted from the  state of repression and discontent. </p>
    <p>Developing the notion of collective body, the body of communal  experience emerging in performative action, I examine numerous theatrical means  in my theoretical research and practice. Specifically I study how by  constructing a performative situation, the artist involves the audience into  the process of deconstruction of individual subjectivity, thus performing the  transgression of the State power rooted in individualistic mode of being. I  examine the historical dynamic of this process beginning with earlier  collective actions, rituals and festivals, and continuing to contemporary  performance art - extremist body art, stand-up comedy, street theater and  dance. </p>
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  <h2>R&eacute;becca Lavoie </h2>
    <p> R&eacute;becca Lavoie entame sa seconde ann&eacute;e de  doctorat en Humanit&eacute;s &agrave; l'Universit&eacute; Concordia &agrave; Montr&eacute;al, Qu&eacute;bec.<br />
&Agrave; partir de champs tels que la Pens&eacute;e politique du corps, l'&Eacute;tude des arts et  des sexualit&eacute;s ainsi que, plus pr&eacute;cis&eacute;ment, les &Eacute;tudes de performances, elle  s'int&eacute;resse &agrave; l'id&eacute;e de trace. Sur un plan micropolitique, elle s'interroge  quant aux types de traces que peuvent laisser des &eacute;v&eacute;nements, soit &agrave; la marque  du performatif. En cela, sa recherche porte sur les objets - enregistr&eacute;s et  enregistrant (la traduction anglaise &quot;Recording Objects&quot; nous permet  mieux d'en saisir les multiples directions), - sur notre rapport &agrave; eux ou sur  les traces et leurs espaces d'enregistrement. Sa r&eacute;flexion s'ancre dans une  recherche pr&eacute;c&eacute;dente (sa th&egrave;se de ma&icirc;trise) sur les notions de corps en mouvement  et de conflit de l'espace. Il s'est agit, depuis un anarchisme m&eacute;thodologique  annonc&eacute;, de donner corps &agrave; ces &eacute;l&eacute;ments d'analyse &agrave; travers la figure du  carnaval. Son objectif &eacute;tait d'arriver &agrave; appr&eacute;hender le geste politique sur  d'autres plans que celui de l'action (ou la lutte) politique traditionnelle,  c'est-&agrave;-dire jusque dans nos plus infimes mouvements de pens&eacute;e, en particulier  nos rapports au corps et &agrave; l'&Eacute;tat. Cette recherche lui permit d'ailleurs de  s'interroger sur l'&eacute;criture, la parole et l'identit&eacute; mais aussi, de mettre un  pied, &agrave; partir des sciences sociales et de la philosophie, dans la  recherche-cr&eacute;ation (nous vous renvoyons &agrave; l'&eacute;v&eacute;nement esth&eacute;tico-politique  carnavalesque qu'elle a initi&eacute; dans le cadre du projet &quot;Society of  Molecules&quot;: <a href="http://www.senselab.ca/inflexions/volume_3/tangents/hull/carnival.html">http://www.senselab.ca/inflexions/volume_3/tangents/hull/carnival.html</a>).&nbsp; <br />
<br />
Par un travail conceptuel et plastique en performance portant pr&eacute;sentement sur  l'&eacute;rotique de la contrainte (Containment Erotica), sa d&eacute;marche est non  seulement th&eacute;orique mais aussi cr&eacute;ative.<br />
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  <h2 style="margin-top: 0;">Debbie Lunny </h2>
  <p style="margin-bottom: 0;"> My interdisciplinary project draws upon the  emerging fields of Social Movement Learning (Adult Ed) and Transnational Feminist  Activisms (Women&rsquo;s Studies) as well as on Social Justice Pedagogies,  particularly Feminist and Anti-Racist pedagogies (Women&rsquo;s Studies/Education).  The dissertation will involve comparative research on the learning of activists  in social justice movement and introduces the models of activist pedagogies and  the pedagogy of activism </p>
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    <h2 style="margin-top: 0;">Heather MacDougall </h2>
    <p><span style="margin-top: 0">My thesis project focuses  on policies and practices in Irish-language filmmaking, an aspect of Irish  national cinema that is currently undergoing significant shifts in terms of  both qualitative output and institutional support. My research in this area  combines interests developed through my previous study towards an MLitt in Cultural  Identity Studies (University of St Andrews, Scotland)  as well as my professional experience as the co-ordinator of the short film and  documentary programme at the Foyle Film Festival in Derry,   Northern Ireland.&nbsp; Following these experiences, I am particularly  intrigued by the intersecting issues of language and identity, national  cinemas, and public policy in relation to the arts.&nbsp; Also, of course, I am thrilled to be able to  eat popcorn and watch movies and consider it part of my &ldquo;research&rdquo;!</span></p>
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  <p style="margin-top: 0; margin-bottom: 0"><span style="margin-top: 0; margin-bottom: 0;"><img height="191" src="http://cissc.concordia.ca/phdinhumanities/studentresearch/currentstudentprofiles/images/IMG_0153.jpg" width="250" /></span> <a name="Bianca" id="Bianca"></a></p>
  <p style="margin-top: 0;">     <span style="margin-top: 0; margin-bottom: 0;"><span style="font-size:11px;">(c) Bianca Scliar Mancini, 2007</span></span>  </p>
  <h2>Bianca Scliar Mancini </h2>
    <p style="margin-bottom: 0;">I am interested on how the body in movement can re-shape and invent  cities. My research touches on issues that concern dance, visual arts and  urbanism/architecture. I am intrigued by the moment when every-day movement  becomes choreography, when postures and the spatiality of bodies in public space  become intrinsic to the definition of what a city is. How can a performative  body interfere in the rhythm of a site? What are the strategies of performative  objects to trigger participation within the space of the city? Which are the  ways a performer has to model a resistance towards the constraints of  architecture?</p>
    The work I am developing now chases ways through which  a city be performed. I oppose on calling it site-specific practices, as I  believe any specificity of a site can become elastic through the motion of  bodies.
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  <h2 style="margin-bottom: 0">&nbsp;</h2>
  <h2 style="margin-top: 0;">Florencia Marchetti </h2>
  <p>Florencia Marchetti is an interdisciplinary scholar and  documentary maker. She completed studies in Social Communications (1998) and  graduate training as an anthropologist (2003-4) at the University of C&oacute;rdoba,  Argentina, as well as a Master of Arts in Social Documentation (2007) from the  University of California in Santa Cruz. Her thesis film, &quot;Haunting  Presences&quot; focused on the memories of the 1970s military repression among  the residents of a marginalized area in the city of C&oacute;rdoba, Argentina.&nbsp;As  a doctoral student in Concordia&rsquo;s Humanities program she will build on her  previous ethnographic research and documentary work on the politics of memory  and the memories of everyday life under state sponsored terrorism in  post-dictatorship Argentina. Her doctoral project, entitled &ldquo;Marginal  Suffering: An ethnographic and audiovisual exploration of Argentinean  memoryscapes,&rdquo; will both analyze and intervene in the production and  circulation of narratives about the years of military rule, paying special  attention to the differential participation of distinct social groups in the  ongoing processes of memorialization. Her work combines an ethnographic  approach to newly created sites for memory with a critical examination of media  and cultural representations about the recent past, as well as her own  documentary practice and public art interventions.</p>
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    <a name="Sorouja" id="Sorouja"></a>
    <h2>Sorouja Moll </h2>
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      <p style="margin-top:0;margin-bottom:0;">My interdisciplinary work in the Humanities (19th Century  Canadian Print Culture/Media/Shakespeare) practices a critical discourse  analysis in a variety of media through which I examine the power formations and  their dynamics among and within political, economic, cultural and social  structures.&nbsp; My theoretical framework  includes the work of Foucault, Agamben, Spivak, Fraser, and Thobani, among  others.&nbsp; My interest extends to all media  formations with a focus on sovereignty, hysteria, gender, and race and includes  the discourse of food as resistance used by exiled Indonesian Dutch women. For  my major project, I am researching the media&rsquo;s representation of Indigenous  people in Canada and its relationship to the late nineteenth-century Canadian  newspaper industry during a period territorial expansionism, a process of  nation building that used literary devices, such as Shakespeare, to construct  sovereign ideologies as a method of social engineering.&nbsp; My focus is on the media production during  the trial of M&eacute;tis leader, Louis Riel.&nbsp; I  am not only interested in the consequences of the trial and execution, but also  the response in contemporary Native theatre that counter the naturalized master  narratives and discourse.</p>
      <p style="margin-top:0;">(BA, University   of Guelph; MA, English, University   of Guelph)</p>
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  <p style="margin-top: 0;"><img src="http://cissc.concordia.ca/phdinhumanities/studentresearch/currentstudentprofiles/images/neumark_001.jpg" width="300" height="225" /> <a name="Devora" id="Devora"></a></p>
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<h2>Devora Neumark </h2>
  <p>Photo   Credit: Devora Neumark</p>
  <p>Image   from: <em>Why Should We Cry? Lamentations in a Winter Garden</em>: Metro Atwater,   2008</p>
  <p style="margin-bottom: 0;">My research addresses the   role that art can play within the emerging interdisciplinary framework   articulating the conditions for making home anew for dislocated individuals. At   the nexus of this research/creation enquiry &ndash; wherein community art practice is   both the subject and the working methodology &ndash; is a set of questions about   home&rsquo;s properties, associations, and manifestations (or lack-there-of) in the   political, cultural, emotional, and embodied realms. Once displaced, what are   the conditions necessary for making home anew? What role does beauty play in   this complex process? And how do the stories we tell <em>about</em> home, influence our experiences <em>of</em> home? The analysis of this   conjuncture between beauty and home is necessary in order to interrogate how the   repetition of stylized narratives can construct on the one hand, strong   intracultural alliances, and on the other, can contribute to the cycles of   violence wherein the settling at home of one population sets into motion   domicidal effects that impact another.</p>
  <p style="margin-top: 0; margin-bottom: 0;"> <a href="http://www.devoraneumark.com/">http://www.devoraneumark.com/</a> &nbsp;  &nbsp;</p>
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  <p style="margin-bottom: 0"><span style="margin-top: 0; margin-bottom: 0;">&copy;</span>Taien Ng-Chan </p>
  <h2 style="margin-top: 0;">Taien Ng-Chan </h2>
  <p>Taien Ng-Chan is a Montr&eacute;al writer and filmmaker, as well as  a scholar in the Ph.D. in Humanities at Concordia University.&nbsp; Her areas of investigation focus on  experimental techniques in documentary and fiction film, as well as  explorations of post-ethnicity and urban culture in cinema. &nbsp;She is  associated with the Possible Movements Lab at the Hexagram Institute, which is  directed by Marielle Nitoslawska, Chair of the Mel Hoppenheim School of Cinema,  and Taien&rsquo;s principle advisor.&nbsp; </p>
    <p>Taien&rsquo;s  works include a poetry book/multimedia CD entitled <em>Maps of Our Bodies  and the Borders We Have Agreed Upon</em>, and two anthologies, <em>Ribsauce</em> and <em>Navigating Customs</em>. She has written drama for stage, screen, and  radio, and her videos have been shown across Canada, in the US, Korea, and  Sweden.&nbsp; Her short film <em>The  Red Ribbon</em> won the Location Michel Trudel Award at Concordia University,  where she received her MFA. She is currently at work on a film trilogy about  urban life, the first part of which, <em>80 du Parc</em>, was recently  completed.&nbsp; For more info: <a href="http://www.soyfish.net">www.soyfish.net</a>.</p>
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  <h2 style="margin-top: 0;">Kelly Phipps </h2>
  <p style="text-align:justify;">My research   explores the discursive shifts in social action and political activism in   contemporary lesbian communities in Montr&eacute;al.   My thesis project builds on the need to continuously deconstruct the   tenets of positivism at the centre of identity politics while recognizing the   political and cultural contributions of lesbian activists. In this way, I move   past the paradox of identity and beyond mainstream queer politics to critically   resituate identity as a crucial site of activism that extends far beyond the   boundaries of identity politics. This research will shift the focus away from a   politics of inclusion and recognition, symbolized through the attainment of   same-sex marriage, to develop an understanding of how young, urban,   lesbian-activists configure their political positions outside of hegemonic   social structures.</p>
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  <h2 style="margin-top: 0;">Cindy Poremba </h2>
  <p style="margin-bottom: 0;">My research examines the  crafting of actuality in documentary videogames. It is a practice-based  research project in which design practice (of a single-level prototype) is used  to ground a theoretical framework largely build around case studies from  existing documentary games. It will attempt to address two key issues: what it  means to document something within a digital game, and how games serve as  expressive, meaning-making frames. It will specifically examine the use of  indexical simulations (as documents) and non-indexical simulations (as frames),  attempts to create a phenomenological shift towards documentary viewing, and  the creation (and understanding) of artificially situated perspectives.</p>
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    <h2>Ioana Radu </h2>
    <p style="margin-bottom: 0;">My research is guided by the belief that as a citizen and human  geographer I have an obligation to directly assist in the process of change  needed to achieve a sustainable society by providing the means for the  equitable distribution of resources and strengthening social responsibility.  Through my academic studies at Concordia I was drawn to the Indigenous peoples&rsquo;  struggle with the impacts of large-scale resource development, and particularly  the Cree Nation experiences with hydroelectric development in Quebec. While  living in the Cree community of Nemaska I became aware of not only  environmental impacts brought by large-scale resource development but also the  broader impacts of colonization on Indigenous peoples. This realization has  motivated me to undertake graduate studies to facilitate and provide assistance  to Indigenous communities as they undertake self-development activities within  the self-governance process. </p>
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  <h2>Philippe Rieder </h2>
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  <p style="margin-top:0;">I am interested in processes of reconciliation, reconstruction and  democratization of societies torn apart by genocide and mass atrocities. By  comparing the political post-conflict approaches in Rwanda and Burundi on the national as well as local levels, I hope to identify  possible political and social approaches towards genuine reconciliation and  sustained co-existence
after mass atrocities. My work touches the fields of  history (genocide studies), political science (democratization, reconstruction,  reconciliation policies) and sociology (reconciliation processes, trauma,  co-existence etc.).</p>
  <p>Currently, I am finishing my course work and preparing my field work in  Rwanda and Burundi. Questions related to my work might be: Could countries  torn apart by a intra-communal violence manage a peaceful transition to  democracy and how? How is democracy and reconciliation perceived and handled  with in communities? Is it of concern to the population? Do we have to choose  between stability and democracy?&nbsp; By  comparison, I hope to identify a set of strategies promoting mutual security  and acting as deterrents to mass violence and transitional insecurity.&nbsp;&nbsp; </p>
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  <h2 style="margin-top: 0;">Troy Rhoades </h2>
  <p>My  thesis is based on the notion of that movement occurs visually in relation to  changes of colours. To perceive a visual image, timespace, and movement are not  enough: one must include colour to understand this dynamic process. I will  demonstrate this through the example of digital video because in this medium  image movement occurs in relation to the changes in colour found in the pixels.  As the colours change in the pixels, movement is perceived in relation to those  changes. The goal of my thesis is to show this process of relation that is on  constant flux with timespace.</p>
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  <h2 style="margin-top: 0;">Eric Ronis </h2>
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    <p style="margin-top: 0; margin-bottom: 0;"> My research examines how &ldquo;street theatre&rdquo;  techniques empower spectators and participants to speak up and speak out  against &ldquo;the state.&rdquo; My particular case studies include the student group  &quot;Otpor&quot; (1990s Serbia), ACTUP (1980s New York City), and Las Madres  de Plaza de Mayo (1970s/1980s Argentina). I am also investigating examples of  theatricalized protest movements in contemporary Quebec. A specific angle that  I'm pursuing is the use of humor as a tool for citizen empowerment and&nbsp; how protest groups use &ldquo;impiety&rdquo; as a  rhetorical strategy.<br />
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    <a name="Emily" id="Emily"></a>
    <h2>Emily Rosamond </h2>
    <p>My work combines a studio-based practice in installation and sculpture with research into critical theory, art history, and English. I examine how recent installation and sculptural works - especially those exuding a predominantly non-figurative, yet quasi-literary sensibility by the likes of Mark Manders and Geoffrey Farmer - can activate a complex field of potential relation through rhetorically invoking characters and personae, rather than simply the presence of their authors.  While over the past half-century there have been important critiques of the author-function as a limiting force on the artwork, I am interested in the possibility that artists such as Manders and Farmer, in developing a broad range of rhetorical possibilities around who is &quot;speaking&quot; in their work, might re-envision this theoretical terrain as a site of rupture for certain regimes of the representation of selfhood. www.erosamon.com</p>
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    <h2>Abha Singh </h2>
    <p style="margin-bottom: 0;"><span style="text-align:justify; margin-top: 0; margin-bottom: 0;">My research  interest is basically &ldquo;expressing through the body &amp; expressing through  art&rdquo; - embodiment and the impact it asserts on East Asian adolescents.&nbsp; The aim of this research is to study  appropriate embodied experiences relevant to the migration experience and the  social environment of migrant youth and to develop a collective expressive  means to prevent psychological distress at a community level.&nbsp; In addition, how engaging in Art Therapy  supports a healthy acculturation process, and how it&nbsp;supports the well being of immigrant youth  while decreasing internalizing and externalizing symptoms of embodiment  ~&nbsp; The skin envelope: Defining the corporeality of the self is  utilized as a means of expression of inner feelings and as a reaction to  external experiences.&nbsp; Being  representational to expression, what are the associations with body tattoos,  body piercing, self harm, henna, make-up and other modes of body demonstrations?&nbsp; Further, clothing  the body also plays a significant role amongst East Asian adolescents.&nbsp; Adolescents creatively borrow the clothing styles of particular  personalities to suit the images they seek to convey and like all clothing, it  suggests something regarding the wearer.&nbsp;  What messages are being transmitted through the language of clothes?</span></p>
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  <h2 style="margin-bottom: 0"><a name="Mona" id="Mona"></a></h2>
  <h2 style="margin-top: 0;">Mona Tajali </h2>
  <p style="margin-bottom: 0;">Is it time to for women to rule? From hopeful female candidates in the  West, to Muslim women parliamentarians in the East, women&rsquo;s rise to political  power is a recent phenomenon that is challenging the patriarchal notions of  women&rsquo;s &ldquo;true&rdquo; status in society. Yet, &ldquo;glass ceilings&rdquo; remain firmly in place  all over the world!</p>
    <p style="margin-top:0;">My doctoral project concerns the Muslim world and women&rsquo;s access to  political decision-making, particularly to national parliaments. Since women&rsquo;s  access is curtailed by many gender-specific barriers, the women&rsquo;s movement is  demanding the state and its institutions to adopt quotas for women in  parliaments as an affirmative action measure. This project will compare the  dominant debates on gender quotas in two Islamic states, and the strategies currently  utilized to address women&rsquo;s under-representation: ranging from reform of  religious texts, to adoption and implementation of quotas and their impact on  the state&rsquo;s socio-political developments. </p>
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<div class="event DW_outline"><img src="http://cissc.concordia.ca/phdinhumanities/studentresearch/currentstudentprofiles/Ardath.jpeg" width="250" height="375" />
  <h2> Ardath Whynacht </h2>
    <p>Ardath is a performance poet whose &quot;chilling&quot; and  &quot;masterful feats of narration&quot; (NOW Magazine) have been performed in such  venues as the National Young Writer's Festival (Australia), the Atlantic Jazz  Festival and New Music West. Fascinated by the challenge of transdisciplinary  artistic work, her most recent collaborations with Lisa Phinney, IzReal Jones  and Peter Dykhuis have greatly informed her scholarly research practice in the  Humanities. Coming from a background in Immunological science and global  health, her Ma research focused on settler state tactics of violence against  women of indigenous descent through medical and social service systems since  the early twentieth century. After working for some time as a storytelling  facilitator with inmates in a maximum security unit of a Federal prison, she  became interested in the connections between criminalization, institutionalization  and state violence. The poor, mentally ill and addicted are increasingly  &ldquo;warehoused&rdquo; in institutions that, all too often, sanction abuse such as sexual  slavery, violence and other forms of ill treatment.&nbsp; Drawing on her work as a community-based poet  in the Word Iz Bond Spoken Word Artist&rsquo;s Collective, Ardath is staging a series  of live and web-based &ldquo;affect experiments&rdquo; with which to understand ways that  we can better invoke public support for prisoner rights and protection. &nbsp;She can be contacted at:  <a href="mailto:ardath.whynacht@gmail.com">ardath.whynacht@gmail.com </a>. </p>
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  <h2>Olga Zikrata </h2>
    <p>My  research project inquires into aesthetics of listening, fluidity of art forms,  and synesthesia. It focuses on experiments in music, poetry, and film in early  twentieth century Russia/Ukraine. In particular, I explore works of art  addressed to the ear through other sensory organs. Most recently I have been  interested in drawing connections between noise elements in music and  transrational, or beyond sense, poetry. I am also curious about unorthodox ways  of expressing sound. </p>
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  <h2 style="margin-bottom: 0"><a name="Yuriy" id="Yuriy"></a> </h2>
  <h2 style="margin-top: 0;">Yuriy Zikratyy </h2>
  <p style="margin-bottom: 0;"> The dissertation project addresses the relation  of male homosexuality to the conditions of happiness and the experience of  leisure, reconceiving gayness as a particular configuration of corporeal  excitement. It reconstructs the overwhelming itinerary of the gay life of  early-seventies New    York City to  explore the highly concentrated experience that came to define the gay body. An  interdisciplinary project, it employs a vast array of everyday artifacts&mdash;the  period scrapbook of activist writing, twelve-inch disco singles, regimens of  drug use, early gay film, porn imagery, pop science accounts,  autobiographical fiction etc.&mdash;to reconstruct the fantasy and the expos&eacute; of  early-seventies metropolitan gay world.</p>
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